Thelma : But you are my child! Jessie : I'm what became of your child. I found an old baby picture of me... and it was somebody else - not me. It was somebody pink and fat. Who never heard of sick or lonely. Somebody who cried and got fed. And reached up and got held. Slept whenever she wanted to just by closing her eyes. Somebody who mainly just laid there and laughed at the colors waving over, round her head. And chewed on a polka-dot whale. And woke up knowing some new trick nearly every day. Rolled over and drooled on a sheet. Felt your hand pull the quilt back up over me. That's who I started out. And this is who's left. So that's what this is about. Somebody I lost all right: my own self. Who I never was. Or who I tried to be and never got there. Somebody I waited for and never came - and never will. So see, it doesn't matter much what else goes on in the world or in this house even. I'm who I was waiting for. I didn't make it. Me! Who might have made a difference to me. I'm not gonna show up - so there's no reason to stay... except to keep you company. And that's not reason enough... cause I'm not very good company. Am I? Thelma : No. And neither am I.

Jessie : After Chrismas, after I decided to do this, I would wonder sometime. What migh keep me? What might be worth staying for? And you know what it was? It was if... Maybe there was something that I really liked, like, maybe if I really liked... rice pudding, or corn flakes for breakfast or something... That might be enough. Thelma : Rice pudding is good. Jessie : Huh, not to me.

Jessie : Mama, I know you used to ride the bus. Riding the bus, and it's hot and bumpy and crowded and too noisy, and more than anything else in the world, you wanna get off. And the only reason in the world you don't get off is it's still fifty blocks from where you're going. Well, I can get off right now if I want to. Because even if I ride fifty more years and get off then, it's still the same place when I step down to it. Whenever I feel like it, I can get off. Whenever I've had enough, it's my stop. I've had enough.

Thelma : We're just gonna sit around like every other night in the world, and then you're gonna kill yourself? You'll miss! You'll wind up a vegetable! How'd you like that? You know what the doctor said about getting excited. You'll cock the pistol and have a fit! Jessie : I think I can kill myself, Mama. Thelma : It's a sin! You'll go to Hell! Jessie : Jesus was a suicide if you ask me. Thelma : You'll go to Hell just for saying that, Jessie!

Thelma : People don't kill themselves, Jessie. It's doesn't make sense, unless you're retarded or deranged, and you're as normal as they come, Jessie, for the most part. We're all afraid to die! Jessie : I'm not, Mama. It's exactly what I want. It's dark and quiet. Thelma : So's the backyard, Jessie. Jessie : So quiet, I don't know it's quiet, so nobody can get me. Thelma : Dead might not be quiet at all, Jessie. What if it's like an alarm clock, and you can't wake up, so you can't shut it off... ever! Jessie : Dead is everbody and everything I ever knew, gone. Dead is dead quiet.

Thelma : "I didn't know. I was here with you all the time. How could I know you were so alone?"

劇中女兒的名字跟我女兒一樣都叫jessie。我有時覺得自己像女兒，內(nèi)心寂寞不被理解，有時又像母親，面對即將自殺的女兒焦灼、無能為力。當(dāng)槍聲響起一起塵埃落定，母親拖著沉重的步伐按照女兒的安排去給兒子打電話。無法想象今后的日子，母親要如何活下去。作為母親我痛恨這個女兒，讓最愛自己的媽媽獨自無力的面對女兒的自殺。作為同樣寂寞無助的自己，卻十分理解她做的一切。就像她說的“今晚我要對一切說不”。對一切說不，需要多大的決心與勇氣！最喜歡的一句臺詞“你堅持坐著又嘈雜又擁擠的公交車不下車，是因為你知道你離目的地還有50站。而我現(xiàn)在就要下車，因為對于我現(xiàn)在和50站之后都是一樣的”。我沒有下車的原因或許是我還期望女兒在50站的地方等著我！

電影改編自瑪莎·諾曼的劇本。電影里結(jié)尾處比劇本多加了一句臺詞：“我一直在你身邊，但我卻不知道你那么孤獨”似乎恰到好處。

綜觀全劇，開頭母親喜歡戶外的風(fēng)景，而女兒卻一個人在屋內(nèi)不停整理；女兒將死后的一切都安排的井井有條，還將此后二十年的禮物都準備好，一切的一切母親都未察覺。無法說女兒不愛母親，也無法怪罪母親對女兒的關(guān)注不夠。只是最終的解決方式是在久久的沉默之后的滅亡。

那一晚她們聊了很多，母親與丈夫、母親與女兒、兄弟、前夫、兒子。母親用盡一切的方法去拯救。用溫暖、用憤怒、用激將、用威脅?？上乃乐耸蔷炔换貋砹?。母親的丈夫也是在不溝通的情況下互相蹉跎一生，如今和女兒又是如此。兒女最殘忍的方式是讓白發(fā)人送黑發(fā)人，何況杰西安排好了一切之后，企圖說服她媽媽接受她去自殺。也許對于杰西，能夠安排好一切離去是她覺得最幸福的事情。正如她說：“你堅持坐著又嘈雜又擁擠的公交車不下車，是因為你知道你離目的地還有50站。而我現(xiàn)在就要下車，因為對于我現(xiàn)在和50站之后都是一樣的，我可以選擇自己在哪里下車。” 很喜歡一個網(wǎng)友的解讀，也許50站后的目的地是因為有女兒在等著。

無法批判誰對誰錯，只是希望每一個人都能有自己喜歡的事情，愛情、親情、事業(yè)都可以是人生的價值。

2017.12.10，廣州大劇院，雪麗，焦媛版本。在三星和四星之間猶豫，還是給了四星。因為和我同去看戲的小伙伴是一個雙相患者，她看完后說:我就坐在那里哭，我感覺說的就是我。所以為了這份善意，這份理解。 我身邊很多得了雙相和抑郁的朋友。雖然不遙遠，但還是無法完全地感同身受。到我知道那份痛苦，那份絕望。無法想象，如果是我，我是否還有生的勇氣。

這部劇講一個抑郁患者的絕望和無助展現(xiàn)得淋漓精致。槍聲想起的那一刻我好錯愕，這時候大屏幕的時鐘消失了，因為她的生命走到了盡頭。這對她也是一種解脫吧。

看了這部劇之后，我終于得出結(jié)論，相比舞臺劇，我更愛電影。因為舞臺劇我愛不起。我買的是兩百八的三等座。戴上眼鏡只能看到演員的輪廓。我以前不認識兩位演員，看完后仍不知道她們長什么樣。舞臺劇我大概一年看幾場，買的票也不會超過三百塊?？傊悬c受挫吧…為這種藝術(shù)的階級性。

2017.12.10，廣州大劇院，雪麗，焦媛版本。在三星和四星之間猶豫，還是給了四星。因為和我同去看戲的小伙伴是一個雙相患者，她看完后說:我就坐在那里哭，我感覺說的就是我。所以為了這份善意，這份理解。 我身邊很多得了雙相和抑郁的朋友。雖然不遙遠，但還是無法完全地感同身受。到我知道那份痛苦，那份絕望。無法想象，如果是我，我是否還有生的勇氣。

這部劇講一個抑郁患者的絕望和無助展現(xiàn)得淋漓精致。槍聲想起的那一刻我好錯愕，這時候大屏幕的時鐘消失了，因為她的生命走到了盡頭。這對她也是一種解脫吧。

看了這部劇之后，我終于得出結(jié)論，相比舞臺劇，我更愛電影。因為舞臺劇我愛不起。我買的是兩百八的三等座。戴上眼鏡只能看到演員的輪廓。我以前不認識兩位演員，看完后仍不知道她們長什么樣。舞臺劇我大概一年看幾場，買的票也不會超過三百塊?？傊?，有點受挫吧…為這種藝術(shù)的階級性。

生存還是毀滅，我們是否有權(quán)利去做選擇？當(dāng)初降臨到這個世界上，我們沒得選。如今卻想要用自我毀滅來結(jié)束別人給你的生命？我們已然沒有辦法否認自己的誕生，只有順其自然的死亡，才能夠無愧于心無愧于人的離開。履行活在這個世界上，是每個人的義務(wù)。完成這個義務(wù)，才可能得以圓滿的離開。 “人際交往的本質(zhì)果然是吞噬，越是交心就越知不可交心?！倍煤妥约合嗵帲且环N孤獨，也是一種境界。如果孤獨可以成為你離世的理由，那么你的人生必然灰暗無比。 人生的本質(zhì)只是一場孤獨的旅途。在你我身上發(fā)生的一切不幸和所有得失，都只是給人生的旅途中找尋生命的意義在做參考而已，你我始終都是孤獨的，是被孤獨吞噬？還是被孤獨照亮？這是一個值得探討的問題。但是人生如果用《晚安，母親》來做結(jié)局，我只能表示尊重，但無法認同！ 人們總是難辨事實，總是會為那些給我們的人生做參考的事物而癡迷而神傷。所以才會像電影中的女兒一樣自取滅亡！而片中的母親只是覺得活著就好，并沒有探索到生命的意義，不知生命的真諦，怎么會有力量救贖自己，和救贖別人。所以她只能無力眼睜睜的讓這一切發(fā)生。 眾生皆苦，唯有自渡。